.
Vivitar Ultra Wide & Slim + Hybrid Redscaled Konica Minolta VX Super 200 + Double Exposure. (Print first, Redscale 2nd.)
Continuing experiments with redscale... First run through as standard print film mostly around Bristol, Blagdon Lake, & Stanton Drew. The film was then removed from the canister in a dark bag, reversed then replaced in the canister (all still in the dark bag) and shot through as Redscale around Bristol, Weston Super Mare (briefly) & Glastonbury.
I did not line up the film, nor take notes, nor plan the compositions, beyond remembering that the first run through might take up some variety of colour and the second run through might work well with strong lines & silhouettes or textures.
The negatives were returned uncut as requested, but I did get lab scans - any overlaps of one frame over another, are a result of this. I have cropped where I feel it is most helpful to do so, so any inclusion of frame overlap is these uploaded images has been an active choice. I will almost certainly return to the negs with a home scanner to search for alternative compositions to complement these.
Redscaling.
Basically it involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film canister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)
.
Vivitar Ultra Wide & Slim + Hybrid Redscaled Konica Minolta VX Super 200 + Double Exposure. (Print first, Redscale 2nd.)
Continuing experiments with redscale... First run through as standard print film mostly around Bristol, Blagdon Lake, & Stanton Drew. The film was then removed from the canister in a dark bag, reversed then replaced in the canister (all still in the dark bag) and shot through as Redscale around Bristol, Weston Super Mare (briefly) & Glastonbury.
I did not line up the film, nor take notes, nor plan the compositions, beyond remembering that the first run through might take up some variety of colour and the second run through might work well with strong lines & silhouettes or textures.
The negatives were returned uncut as requested, but I did get lab scans - any overlaps of one frame over another, are a result of this. I have cropped where I feel it is most helpful to do so, so any inclusion of frame overlap is these uploaded images has been an active choice. I will almost certainly return to the negs with a home scanner to search for alternative compositions to complement these.
Redscaling.
Basically it involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film canister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)